The style expresses the academic neoclassical architecture taught at the École des Beaux-Arts in Paris. It is the cumulative product of two-and-a-half centuries of instruction under the authority, first, of the Académie Royale D’Architecture (1671–1793), then, following the French Revolution of the late 18th century, of the Architecture section of the Académie des Beaux-Arts. The organization under the Ancien Régime of the competition for the Grand Prix de Rome in architecture, offering a chance to study in Rome, imprinted its codes and aesthetic on the course of instruction, which culminated during the Second Empire (1852–1870) and the Third Republic that followed. The style of instruction that produced Beaux-Arts architecture continued without major interruption until 1968.
The Beaux-Arts style heavily influenced the architecture of the United States in the period from 1880 to 1920 (Weylin was built between 1870 and 1875). In contrast, many European architects of the period 1860–1914 outside France gravitated away from Beaux-Arts and towards their own national academic centers. Owing to the cultural politics of the late 19th century, British architects of Imperial classicism followed a somewhat more independent course, a development culminating in Sir Edwin Lutyen’s New Delhi government buildings.
Beaux-Arts architecture depended on sculptural decoration along conservative modern lines, employing French and Italian Baroque and Rococo formulas combined with an impressionistic finish and realism. Slightly overscaled details, bold sculptural supporting consoles, rich deep cornices, swags and sculptural enrichments in the most bravura finish the client could afford gave employment to several generations of architectural modellers and carvers of Italian and Central European backgrounds. A sense of appropriate idiom at the craftsman level supported the design teams of the first truly modern architectural offices.
Though the Beaux-Arts style embodies an approach to a regenerated spirit within the grand traditions rather than a set of motifs, principal characteristics of Beaux-Arts architecture included
• Rusticated and raised first story.
• Hierarchy of spaces from “noble spaces” – grand entrances and staircases- to utilitarian ones.
• Arched Windows.
• Arched and pedimented doors.
• Classical details: References to a synthesis of historicist styles and a tendency to eclecticism; fluently in a number of manners.
• Symmetry.
• Statuary, sculpture (bas-relief panels, figural sculptures, sculptural groups), murals, mosaics, and other artwork, all coordinated in theme to assert the identity of the building.
• Classical architectural details: Balustrades, pilasters, garlands, cartouches, acroteria, with a prominent display of richly detailed clasps (agrafes), brackets and supporting consoles.
• Subtle polychromy.
You can find many of these details in the Weylin building and we’ll go over many of them on following posts.
The Weylin Team.